Exploring influences on an ongoing creative process​

Cuts some movements that he originally thought would look good, but later felt didn’t come from an “inspired place” and ultimately looked extraneous. At first he thought the movements might add variety, but then realizes this variety is unnecessary.

Fills in the resulting space by repeating and varying the thematic material.

Believes the choreography is now leaner – and more powerful. When you repeat material, you “dig deeper.” Reiteration can add strong emphasis to an idea. Also, this approach is appropriate for the theme of a creature awakening; such a creature would physically repeat things, slowly adding movements.

As he observes Maggie tackling the material in the 2nd rehearsal, he can really see how musical she is. It is clear that she has been listening to the music in between rehearsals.

Watching Maggie’s interpretation of the movement reinforces his inclination toward slow movement and minimalism. It confirms that this type of choreography can be beautiful and touching. Realizes that his instincts are “spot on.”

MAGGIE

Feels physically prepared since movement is still purely gestural.

Notes the difference between dance training when she was younger and today’s typical teaching approaches. Characterizes her training as representative of an “old school mentality” that discouraged dancers from expressing how they feel physically and psychologically. In contrast, today’s dancers are treated in a much healthier way.

Never identified herself as a choreographer, so enjoys working with someone for whom making movement is so natural.

Describes herself as a “you tell me what to do” dancer. She feels good when she can “do it the way [Jonathan] wants.” She feels working with Jonathan is a comfortable blend of clear direction and collaboration.

SHERRI

Due to scheduling conflicts, Jonathan and Maggie couldn’t rehearse as planned for the past 2 weeks.

Notes Maggie’s impressive articulation of her hands, expressive arms, and great musicality.

Maggie is able to maintain her focus despite her daughter’s occasional interruptions.

PSYCHOLOGICAL/EMOTIONAL

JONATHAN

Making the aforementioned cuts evokes anxiety:

Wants to keep pressing forward, not revise material from last rehearsal.

Worries that he cut material that others might find interesting.

Staying grounded in his gut instincts, he challenges himself:

Dare to repeat yourself.

Dare to simplify.

Realizing that he made the right decision is a powerful experience.

Excited and moved that Maggie is the type of artist who investigates movements and music on her own – and brings her own interpretations to the dance.

Experiences a combination of fear and pride; feels anxious about challenging a prevailing trend toward complex, frenetic material, but exults when he watches the results.

Catches himself thinking, this is great, but “we’re only this far in, so we have to keep it going at this level.” Hopes to maintain the courage to stay with his instinctive approach and let the intensity of the work ebb and flow. Wonders, “am I up to the challenge?”

Describes conflicted feelings about Maggie’s daughter’s interruption. Part of him views it as delightful and wonderful and thinks he should make comments, laugh, and stop to play. On the other hand, his “performer instinct” demands that he stay true to the piece and stay focused. He imagines that an improv comedian would have incorporated the interruption into his routine and wonders if he should do the same.

Asks himself what kind of work can he create in this environment where children are always present? Should he roll with the disruptions and integrate the children’s actions into the piece? Or should he stay true to his vision and make choices despite their presence? Realizes that this is a central conflict. If he sticks to his vision, is he being stubborn? Fair? True to the process?

As a parent, he tends to move to a place of self-denigration: if only he had prepared his time and space better, the interruption could have been avoided.

Jonathan and Sherri discuss the situation and conclude that there is no right or wrong decision; Jonathan can go with what feels authentic when the situation arises.

MAGGIE

Puts slight pressure on herself to retain both the material and Jonathan’s corrections. Since she hasn’t danced professionally for a while and rehearsal was cancelled the past 2 weeks, remembering the choreography is difficult. As a result, she doesn’t feel as “free” as she would like to be.

Jonathan Riedel, Choreographer and Artistic Director of Riedel Dance Theater, began choreographing professionally in 1999. In 2002, he staged his breakaway hit,The Unsightful Nanny, on the Limón Dance Company, and in 2003 he founded Riedel Dance Theater, presenting its inaugural season in NYC and Italy. His work quickly became known for its taut, intelligent humor and poignant dramatic power. DanceView Times proclaimed it “brilliant," "profoundly moving," and having "an ingenuity and timing that would make Petipa jealous." ​READ MORE